They say that traveling broadens. I recall my own trip to the
areas covered by the principals of "The Motorcycle Diaries" by
director Walter Salles ("Central Station"). This was in 1967
when I traveled with a group of 20 high school teachers who
received summer fellowships to zoom throughout the western
regions of South America. I came back from the trip with
anecdotes for the classroom, a better-than-tourist's eye view of
the area since we had lectures from prominent South
Americans, and had fun being with a group of like-minded
people–though like the two principals in this film we did not
always get along so well. Truth to tell, while I was able to
enliven some high-school classes, particularly the honor
students who at least pretended to be interested, my political
were not the spine of celluloid coming-of-age dramas
Ernesto Guevara (Gael Garcia Bernal) and Alberto Granado
(Rodrigo de la Serna), though, were changed right down to the
core. Most of us older folks here in the States recall that
Ernesto
"Che" Guevara was instrumental in helping Fidel Castro's
revolution in Cuba, which brought down the Fulgencio Batista.
Yet we think, how could a guy from an upper-middle class
household in Buenos Aires, comfortably situated as a medical
school student, be so radicalized to be the famous (or notorious)
Che, whose icon is one of the one hundred most recognizable in
the world and is worn on T-shirts of mostly well-off kids here
(who just may be rebelling against their families rather than
Motorcycle Diaries," based on two books–Guevara's "The
Motorcycle Diaries" and Granados's "With Che Through Latin
America," will help greatly to see how Che Guevara, turned into
a violent revolutionary.

However, I don't believe the principal aim of director Salles or
scripter Jose Rivera is to give us an inkling of bourgeois turned
radical, but rather they provide us with a fleshed-out drama that
could be put on the front burner of people whose favorite
channel
is akin to National Geographic. It's a coming-of-age story, not of
the usual teenagers or eight-year-olds who learn to make peace
(or not) with their families but of two young men, Che at the age
of 23 and Alberto at the age of 29, whose rugged travels take
them from the urban contentment of Buenos Aires through the
desolate mines of Chile, and on north to the leper colony in San
Pablo, Peru.

Guevara (Gael Garcia Bernal) is depicted as a serious fellow
throughout, making us wonder how such a stiff could form the
bonds he did with the lumpen proletariat of western South
America–where Eric Gautier filmed them mostly on location in
Argentina, Chile and Peru (with Colombia and Venezuela fit in
within the last of those areas). Contrasted with the medical
student with but one term to go when he takes this sabbatical,
Alberto, a biochemist, is a hale-fellow-well-met whose Jay-Leno-
like appearance signals to us right off that this chap would be
the comic member of the duo.

They travel together for the first eight months of 1952 on a
1939 motorcycle which they ironically call The Mighty One and
which breaks down not halfway to their goal but not until El
Poderosa visits a couple of nasty spills on the intrepid travelers.
They avoid any road with the slightest similarity to the New York
State Thruway or the Trans-Canada highway, zipping along the
back roads not excluding Chile's Atacama desert. When their
contraption finally dies, they are able to persuade people along
the way to help them with other forms of transport, including
truck and raft, ultimately a flight on a cargo plane out of Caracas
where Alberto remains to take a job in his field.
The highlight of the journey is in a leper colony, most
meaningful to Che because in school he majored in that field of
medicine. As expected, they bond with the patients, the nuns,
the nurses and the doctors there and in one situation, Ernesto
persuades a reluctant patient to undergo surgery to save her
arm.

If you've ever traveled with a tour group–generally the most
comfortable and thereby least challenging form of
expedition–you may have noticed how after a few days or a
week, some folks simply do not get along with others and the
company breaks up into cliques. It's all the most amazing that
Alberto and Ernesto, not necessarily sharing the same goals (for
example Alberto is a dancer while Ernesto is a stiff), remained
on friendly terms throughout, whether riding on the same
motorcycle, on a truck and a raft, sleeping in the same quarters
without a break of a single night. "The Motorcycle Diaries" will
please armchair travelers, and readers of National Geographic
and New Republic alike.